BOOKS, fanzines and other good reads...
THE SEX PISTOLS 1977 : THE BOLLOCKS DIARIES, AS TOLD BY THE SEX PISTOLS (published by Cassell Illustrated.) Although the full story of the Sex Pistols extends much further than just this one year, it’s undeniable that 1977 was the period during which they made their most immediate impression, both on social and cultural levels. Whilst many original fans will argue, with some justification, that the real power of the band (and even ‘punk’ itself) was over by the end of 1976, it wasn’t until the following year that many people actually found out about the new movement. The band had been playing in London on a pretty regular basis, but if you lived further afield your chances of seeing them were slim even if you had heard about them or read reviews. So it wasn’t until 1977 when their records started to become available that most potential fans were able to hear exactly what the band were doing. Of course, at the same time the media coverage grew to frantic proportions, with tabloids blatantly fabricating headlines and whipping up bigotry along the way. But access to the music itself made the greatest impact. People were able to find out for themselves what the band sounded like and what they were singing about. Those who kept their eyes and ears open and who chose to think for themselves could appreciate the reality. The establishment did their best to contain this. ‘God Save The Queen’ was virtually banned and cheated out of its’ Number One spot (and remember, this was purely for political reasons ; there was no offensive language in the song, just opinions that the establishment didn’t want to have heard.) And later in the year, a Court prosecution attempted to criminalise the use of the word ‘Bollocks’. The bully boy tactic failed with a verdict that effectively vindicated the use of everyday language on a cultural level (something that we now take for granted.)
Of course, the pressure on the band themselves was immense and, indeed, they barely lasted to the end of the year. But whatever the eventual outcome, their impact had been made and can now be seen to be on a cultural level on par with that of Elvis Presley or The Beatles.
What this book succeeds in doing, is telling the entire story of that tumultuous year, with a verbal history recounted by members of the band and others who were there at the time. Illustrated with original photographs, documents and memorabilia, this book replicates the full story in superb quality. There are no attempts to interpret or analyse the events or material, but rather just an accurate account of what really happened. Putting it into this context will give the reader a good feel for what the band went through and how they changed the subsequent course of music, fashion and other forms of expression. While this particular publication may have been tied-in with the 40th Anniversary of the original events, the story it tells will remain relevant whenever you read it. It’s a beautiful book which gives a fine account of events which remain significant.
Of course, the pressure on the band themselves was immense and, indeed, they barely lasted to the end of the year. But whatever the eventual outcome, their impact had been made and can now be seen to be on a cultural level on par with that of Elvis Presley or The Beatles.
What this book succeeds in doing, is telling the entire story of that tumultuous year, with a verbal history recounted by members of the band and others who were there at the time. Illustrated with original photographs, documents and memorabilia, this book replicates the full story in superb quality. There are no attempts to interpret or analyse the events or material, but rather just an accurate account of what really happened. Putting it into this context will give the reader a good feel for what the band went through and how they changed the subsequent course of music, fashion and other forms of expression. While this particular publication may have been tied-in with the 40th Anniversary of the original events, the story it tells will remain relevant whenever you read it. It’s a beautiful book which gives a fine account of events which remain significant.
FLYIN’ SAUCERS ROCK’N’ROLL : THE COSMIC GENIUS OF SAM PHILLIPS by Peter Guralnic, Knox Phillips and others. (Backbeat.) Compiled to complement the Country Music Hall of Fame exhibition in Nashville, this book is not so much a biography of the legendary producer but rather a well-aimed introduction to the character and achievements of a man who undoubtedly had a massive influence on popular culture from the Fifties onwards. Appropriately sized the same as a 10” record, the book may only contain 66 pages but with so many well-chosen pictures (mostly full-colour) and text that really gets to the heart of the matter, I doubt that anyone would feel short-changed. Sam Phillips initially started his music career promoting, broadcasting and recording black R&B and Blues performers, not an easy task at a time when segregation was still rife throughout America. But Sam loved the music and saw his attempts to make it more popular as a way of braking down barriers. Along the way, he uncovered truly legendary talents ; an original hand-written note pictured in the book and headed with the title ‘Talent Just Waiting To Be Discovered’, goes on to list the likes of BB King, Rufus Thomas, Ike Turner and Howling Wolf ! But it would be his discovery of Elvis Presley that was to ensure his fame in the annals of history. As the story goes, Elvis entered Sam’s Sun Studios in Memphis just to record a song as a gift for his mother. After a second visit to the studio, Sam introduced Elvis to guitarist Scotty Moore and the eventual recording of ‘That’s All Right’ kick-started a musical revolution. Elvis hadn’t invented rock’n’roll but he certainly defined it. As Sam commented, he had always been looking for ‘perfect imperfection’. Not something that was done according to the rule book, but something that just sounded great ! The early Elvis recordings were soon to be followed by the likes of Jerry Lee Lewis, Carl Perkins, Johnny Cash, Roy Orbison and many others. Their influence remains vital to this day. Both the Beatles and the Stones acknowledged the legacy of Sun Studios, and who would be foolish enough not to recognize ‘perfect imperfection’ as the essence of Punk Rock ? As I said, this isn’t a thorough biography but in many ways you don’t really need to know everything about the man, you just need to know what he inspired. He may not have made the music, but he loved it and ensured that the whole world could share it. We all owe him a huge debt of gratitude.
MONTY PYTHON FAQ ; All That’s Left To Know About Spam, Grails, Spam, Nudging, Bruces and Spam…by Chris Barsanti, Brian Cogan and Jeff Massey (Applause) This is very much a book for fans, by fans. Their passion for the subject is evident on every page (apart from the index, which is rather dull) but the best thing is that they keep their overview focused and avoid getting too picky or nerdish. After all, Monty Python is a subject that almost invites obsessive behaviour. From their roots in the Sixties and eventual climb to becoming bona fide comedy legends in the Seventies and beyond, with endless spin-offs and later projects that have embraced virtually every entertainment media, the Pythons have undeniably had a massive influence over modern culture. What this book sets out to do is to put it all in perspective, from the lesser-known predecessors that influenced their work (Spike Milligan in particular, but also the likes of David Frost and the Beyond The Fringe team) through to the many figures who played important parts along the way.
It also documents the private lives of the individuals, avoiding sensationalist terms, and goes on to detail their post-Python projects (nice bit of alliteration there, nudge nudge…) The chronological account of the original Flying Circus episodes does get a bit tiring at times, but only because most of us who would read this book are already familiar with most of the sketches. It works much more effectively when put to the task of detailing the individual films, which doesn’t involve so much repetition in one go. But overall, the fact that the writers are more than willing to be objective about the Pythons’ output is the real strength of the book. They’re very happy to say when something was great but also duty-bound to concede when other things didn’t work so well. Whilst there are already many books available on the subject of Monty Python, quite a few by the Pythons themselves, this one is a very successful introduction to the wider realms that their comedy bridged and a fine signpost towards their other projects and influences that really should be investigated. So please don’t ignore this review… Doug and Dinsdale wouldn’t like that…
It also documents the private lives of the individuals, avoiding sensationalist terms, and goes on to detail their post-Python projects (nice bit of alliteration there, nudge nudge…) The chronological account of the original Flying Circus episodes does get a bit tiring at times, but only because most of us who would read this book are already familiar with most of the sketches. It works much more effectively when put to the task of detailing the individual films, which doesn’t involve so much repetition in one go. But overall, the fact that the writers are more than willing to be objective about the Pythons’ output is the real strength of the book. They’re very happy to say when something was great but also duty-bound to concede when other things didn’t work so well. Whilst there are already many books available on the subject of Monty Python, quite a few by the Pythons themselves, this one is a very successful introduction to the wider realms that their comedy bridged and a fine signpost towards their other projects and influences that really should be investigated. So please don’t ignore this review… Doug and Dinsdale wouldn’t like that…
SMASHING IT UP – A Decade of Chaos with The Damned by Kieron Tyler (Omnibus) A long-overdue biography of The Damned, a subject that hasn’t been attempted since Carol Clerks’ The Light At The End of The Tunnel’ in 1987. While that book remains a rather worthy volume in itself, this manages to go into much greater detail, covering parts of the story that have only recently re-surfaced and also bringing things further up to date. Given the awkward and intricate relationships between many of the former members, Kieron has done very well. He gives the band the full recognition they deserve for their achievements in 1976-77 (even allowing ‘Music For Pleasure’ a timely and appropriate reappraisal) properly placing them shoulder-to-shoulder alongside the Clash and the Pistols in terms of cultural impact and also gives credit for the albums they produced over the next decade. The book also contains a lot of scarce or previously unseen photo’s, making it a real treat for fans. My only gripe is that so little time is spent on the period of time after 1989 (a mere twenty or so pages.) Admittedly, the various versions of the band were less than prolific during that time, but surely the albums they have produced (‘Grave Disorder’ in particular) deserved more than just passing comments ? Whatever, this is a book that finally starts to put the story straight and I’m glad that it’s here.
LONELY BOY by Steve Jones (William Heinnemann) Considering Jonesy’s well-known literacy problems, this is obviously co-written with an appropriate scribe (Ben Thompson) but regardless of the way it was put together, the one thing that this book captures is the subjects’ voice. If you’ve ever heard him
speak, via vintage Pistols interviews or more recently on his excellent radio show, you’ll instantly pick up this tones and mannerisms. You’ll also hear some surprisingly accurate and sometimes brutally-honest recollections. I don’t want to give too much away, but Steve had an awkward childhood that later on manifested itself in obsessive behaviour, often to his own detriment. Much of this book is about this personal aspect and the way he eventually came to terms with it, although I will make it clear that this isn’t some self-righteous ex-addict trying to tell kids what they should and shouldn’t do. He keeps it all about himself and in
this way, it wins your support much more effectively.The fact that he is willing to discuss some quite unpleasant episodes from his life also makes the whole book more believable. He really doesn’t seem to have anything to hide and no axes to grind, which gives it a balanced viewpoint that is missing in some of the other Pistols-related tomes. He has some great stories as well, which he relates with relish, but all with his sly sense of humour keeping it in touch. I have to say, unless Paul Cook surprises us all with his own memoirs, this is possibly the best book from any of the Pistols to date, although I’ll still maintain that you really need to read it alongside Matlock and Lydon’s own books to get the full picture. But this one really puts a lot of things in their place and is a lot of fun with it. Very recommended !
speak, via vintage Pistols interviews or more recently on his excellent radio show, you’ll instantly pick up this tones and mannerisms. You’ll also hear some surprisingly accurate and sometimes brutally-honest recollections. I don’t want to give too much away, but Steve had an awkward childhood that later on manifested itself in obsessive behaviour, often to his own detriment. Much of this book is about this personal aspect and the way he eventually came to terms with it, although I will make it clear that this isn’t some self-righteous ex-addict trying to tell kids what they should and shouldn’t do. He keeps it all about himself and in
this way, it wins your support much more effectively.The fact that he is willing to discuss some quite unpleasant episodes from his life also makes the whole book more believable. He really doesn’t seem to have anything to hide and no axes to grind, which gives it a balanced viewpoint that is missing in some of the other Pistols-related tomes. He has some great stories as well, which he relates with relish, but all with his sly sense of humour keeping it in touch. I have to say, unless Paul Cook surprises us all with his own memoirs, this is possibly the best book from any of the Pistols to date, although I’ll still maintain that you really need to read it alongside Matlock and Lydon’s own books to get the full picture. But this one really puts a lot of things in their place and is a lot of fun with it. Very recommended !
THE CLASH FAQ by Gary J.Jucha (Backbeat) This is a difficult book to review. As a biography, it’s done pretty well and some of the aspects covered are pretty insightful. For example, it stresses the importance of original drummer Terry Chimes (at both ends of the bands’ career) and is also willing to admit the actual strengths of the final line-up rather than just following the party line that it was a mistake that is best-left ignored. The author is also argues that it was in fact ‘Sandinista’ that was the bands’ masterpiece, an opinion that virtually every other fan would vehemently disagree with. Perhaps as an American fan whose love of the band grew during their later years, he has a rather different perspective to slightly-older Brit-fans, so it’s a valid point of view, even if many wouldn’t concur. He is also able to include a lot of first hand concert experiences which really bring the text to life. However, the big problem is the numerous factual errors occur, particularly when discussing contemporary bands. For example, gobbing at bands was apparently invented by Dave Vanian ! (Sensible or Scabies perhaps, but never the stylish Vanian !) while the Sex Pistols were intent on ‘cheating their fans’, a detail that could only be gleaned by someone who thought ‘The Great Rock’n’Roll Swindle’ was a ‘documentary’. Even The Clash themselves are subject to some pretty odd claims ; ‘White Riot’, for example, is said to be influenced by The Who’s ‘Baba O’Riley’ ! It’s things like this that devalue the book, which is a real shame. Perhaps a knowledgeable second-opinion in the editorial stage would have been helpful and cut down on the silly mistakes, making the more interesting content all the more potent. It certainly isn’t a bad volume and it also manages to bring a few new things to the table, but it could’ve been even better.
MDC : MEMOIR FROM A DESTROYED CIVILIZATION by Dave Dictor (Manic D Press) This isn’t just a biography of a hardcore band, this is the tale of someone who was, and remains, an integral part of the genres’ vitality. MDC started as ‘The Stains’ in Austin, TX in 1979, alongside such incredibly innovative bands as The Dicks and Big Boys, releasing the classic ‘John Wayne Was A Nazi’ 7” before relocating to San Francisco. After a name-change, they released their debut album, ‘Millions of Dead Cops’, in 1982, which in itself was enough to ensure their reputation. But since then, and with varying line-ups, they have continued to tour and release records, challenging preconceptions and inspiring many others. This book tells the story from Dave’s perspective, including the infamous fall-out with Bad Brains, constant touring and confrontations with various unsavoury characters (from skinheads and the police through to the Pope !) The stories are written in short chapters that maintain an interesting and entertaining tone, illustrating how things really were for a ground-breaking band, particularly during the 1980’s. The fact that Dave is still fronting MDC as they continue to tour and release new music only goes to strengthen the validity of this book. Track-down a copy as soon as you can !
THE RISE THE FALL AND THE RISE by Brix Smith-Start (Faber & Faber) In short, this is a book by Brix about Brix. It is not a book about The Fall, although they do figure largely in it. There is a lot about her peculiar childhood, parental relationships and her life since her last tour-of-duty in the band came to an end. She’s been a busy girl and there’s a lot to talk about. Besides Mark E. you’ll also find Gary Lineker, Nigel Kennedy and, of course, her current husband, Phillip. It’s an intriguing story and although there are a few factual errors, it doesn’t really matter as it’s the gist of the tale that counts. She’s had her high points along with the low, but she’s always found a way forward, changing course just as often as staying true to an original direction. Some of the revelations will be surprising, others will come as expected, but she tells it with a good degree of openness and candour. It probably won’t change your mind about her (or Mark E. for that matter) but it does allow you to understand things a bit more than you probably did before. Definitely worth your perusal.
MEMORY OF A FREE FESTIVAL BY Sam Knee (Cicada Books) I wasn’t sure what to expect from this book as most festivals have, in recent years, become just as turgid and commercialized as the rest of the music business. But this book is a celebration of the true underground spirit that originally established the Festival scene in the UK, starting in the late Fifties during the bohemian / beatnik era and remaining
until the mid-Eighties, when Thatchers’ vicious pig cronies put an end to free festivals. Admittedly, some of the larger commercial festivals did continue to promote interesting line-ups for a while after this and it can be claimed with some validity that the early rave scene continued the spirit, but to date, the true Golden Era was those three decades. Now, I have to admit that I’ve never really been a fan of festivals. I don’t particularly enjoy camping and my attention-span runs out early when too many bands are involved. But I can appreciate that the Free Festival scene did try to present a real alternative which was much needed as a contrast to the UK’s traditional stuffiness. Festivals such as Phun City, Stonehenge and Windsor were probably the best manifestation of this, although many others arose in their wake. Glastonbury also played its’ part, although Michael Eavis was always keen on making money from the event (the free festivals at Glastonbury were helmed by Andrew Kerr in the Seventies.) What this book captures alongside the details, is the attitude of the movement, before big companies and other money grabbers changed the whole thing into little more than a cynical cash-making exercise. If you look carefully, you can still find the original spirit still alive and dancing (check out the ‘Trespass’ events) as long as you don’t fall for the hype. Containing extensive photo’s (which tend to concentrate on the audiences rather than the performers) this book is a beautifully-presented and vital insight to a scene that is mostly misrepresented these days but which can still impress and inspire. Don’t let the bastards sell your culture to you, take back what was yours in the first place !
until the mid-Eighties, when Thatchers’ vicious pig cronies put an end to free festivals. Admittedly, some of the larger commercial festivals did continue to promote interesting line-ups for a while after this and it can be claimed with some validity that the early rave scene continued the spirit, but to date, the true Golden Era was those three decades. Now, I have to admit that I’ve never really been a fan of festivals. I don’t particularly enjoy camping and my attention-span runs out early when too many bands are involved. But I can appreciate that the Free Festival scene did try to present a real alternative which was much needed as a contrast to the UK’s traditional stuffiness. Festivals such as Phun City, Stonehenge and Windsor were probably the best manifestation of this, although many others arose in their wake. Glastonbury also played its’ part, although Michael Eavis was always keen on making money from the event (the free festivals at Glastonbury were helmed by Andrew Kerr in the Seventies.) What this book captures alongside the details, is the attitude of the movement, before big companies and other money grabbers changed the whole thing into little more than a cynical cash-making exercise. If you look carefully, you can still find the original spirit still alive and dancing (check out the ‘Trespass’ events) as long as you don’t fall for the hype. Containing extensive photo’s (which tend to concentrate on the audiences rather than the performers) this book is a beautifully-presented and vital insight to a scene that is mostly misrepresented these days but which can still impress and inspire. Don’t let the bastards sell your culture to you, take back what was yours in the first place !
GOODBYE HELTER SKELTER by George Stimson (Peasenhall Press). So much has been written and broadcast about Charles Manson and his alleged ‘family’ but few have bothered to look beyond the sensationalism to question whether the generally accepted ‘facts’ actually hold much water in the real world. Manson was declared guilty by the media long before the final verdict and no-one wanted to ruin the big story. But so many of the ‘details’ which are readily accepted are either misleading, unsubstantiated or just plain false. The main point of contention is the extent of Manson’s actual complicity in the crimes. The prosecution had to convince everyone that he was the evil mastermind behind the killings, intent on his bizarre plan to rule the world. On the other hand, all those involved originally offered the alternate motive that the murders were committed as copycats killings in an attempt to save their friend, Bobby Beausoleil, from jail. (Most have since refuted this version in attempts to gain parole.) This version is still strongly supported by the facts, but accepting this would have made Manson’s role much less integral to the plot, something that the prosecution and media were already unwilling to accept. The trial itself denied Manson his Statutory Right to conduct his own defence and the Prosecution also gave Linda Kasabian a pardon in exchange for her supporting evidence, despite her own involvement in the crimes. At the end of the day, the trial was stage like a Hollywood production. What this book sets out to do is separate the facts from the myths. Built around hours of conversations with Manson himself (both with the author and from the extensive Sandra Goode archives) it presents a well-reasoned examination of the events as opposed to the screenplay-version that is usually related. Stimson doesn’t try to deny or excuse what happened and he doesn’t try to excuse Manson for his more outlandish views or actions, but at the root of the book is the intention to tell the story as accurately as possible and to present the likeliest scenario for what really happened. It doesn’t try to make out that Manson was entirely innocent and, indeed, he has never denied his knowledge and involvement in the crimes. But it does try to ascertain what really took place and what was, basically, made-up by individuals who had a vested interest in creating the ‘monster’ that Manson represents to most people. As such, this is probably the most well-balanced book you’ll ever read about the case and in an era where more and more people are beginning to realize that what the media reports isn’t necessarily the truth, perhaps this is as good a time as any to make your own reassessment.
TEENAGE KICKS by Michael Bradley (Omnibus.) Alongside Andrew Matheson’s ‘Sick On You’, this is one of the most entertaining music biographies that I’ve ever read. Mickey Bradley has a great style of writing that really captures the spirit of the band and their music. Telling the tale of the Undertones from his own perspective, he manages to cover the highs and lows of their original career, from childhood through to the end of the band in 1983. It’s great fun and totally unpretentious, with no delusions about their naivety and peculiarities, although, of course, it was those quirks that were such an important characteristic of the band. They wrote awesome songs, but you never though they were anything other than a bunch of mates having a good time. In some ways perhaps that worked against them, especially as their music developed, but the band themselves could only ever be themselves. The stories about growing up in Derry during the Seventies are also intriguing, giving a down-to-earth impression of what life was like there at the time, without lingering on the Troubles. Some may be surprised that there is no negativity towards Feargal and, in fact, the camaraderie between all members of the band is something that really stands out. I would, perhaps, have liked a further chapter about the eventual reunion of the band, but at the same time, the book covers the story of the original five members so succinctly, maybe that would have been a distraction. Either way, this is a great account of a deservedly respected band and I’m sure it will be fun whether you’re a fan or not. But you really should be…
NEVER KNOWN QUESTIONS – Five Decades of The Residents, by Ian Shirley (Cherry Red Books) Ian Shirley originally wrote a book about The Residents (‘Meet The Residents’) in 1994. This volume is not merely an updated version but a completely re-written volume, including new and updated material as well as brand new interviews. Much like The Residents themselves, Ian Shirley took his original work and ‘RMX’ed it to provide a more valid, contemporary statement. Alongside the recent ‘Theory of Obscurity’ documentary, this is probably as definitive an article you will ever find about a band whose very nature is to be undefinable. It provides you with as many facts as you’ll ever need to know about the Eyeballed-Ones and doesn’t concern itself with identities or individual characters. It’s the work that counts, not the private lives, and whilst there are many collaborators and allies who are able to elaborate on the ideas and concepts, the band themselves are happy enough to present their work and let the audience arrive at their own conclusions. Ian Shirley clearly understands this and presents the details in an appropriate, complimentary way. I’m sure there will be further books about The Residents, but I very much doubt that any will ever reach a better understanding of the subject than this.
4 MINUTE WARNING #14 (£2.00 + SAE from Mitch Elsden, 31 Fir Grove, Marton, Blackpool, FY1 6PJ.) One of my favourite current fanzines, more because of the total enthusiasm you’ll find on every page than anything else (and there’s plenty of decent bands and articles covered as well.) It’s unashamedly DIY punk rock, but that’s what makes it fun and interesting. No excuses, it just gets on with what it wants to be doing. Lots of interviews (including TV Smith, 36 Strategies, Chaos UK and One Way System, amongst others) loads of reviews and other articles. You don’t have to like or agree with everything, but you’ll want to read it anyway. Two measly quid for 46 A4 pages, it’s a bargain, I tell ya !
WHEN THE STORM BREAKS by Robert Forbes & Eddie Stampton (self-published.) I know there are people out there who would prefer that this book didn’t exist at all, and would prefer that I hadn’t read it, let alone reviewed it. But, as the saying goes, Knowledge is Power. If I am to form an opinion on the likes of Skrewdriver, Blood & Honour and Rock Against Communism, I need to know the facts. So many stories and so much propaganda has been spread by both sides that it becomes difficult to know what is true and what is false. This book sets out to put things in a factual light and, indeed, the references are meticulously listed throughout. There are those who would argue that such a book shouldn’t be allowed to exist as some of the opinions expressed within (through the extensive interviews) could influence the readers to form extremist views, but let’s face it - the kinda people who form racist views are just as likely to be influenced by The Sun or The Daily Mail. So at which point would the book-burning begin ? No, I would prefer to be given the choice to read books like this and given the credit that I’m intelligent enough to form my own opinion. If you face this book with an objective approach, it certainly gives you the option. To blindly condemn it just because you don’t like the subject is certainly not the best way to confront it.
To begin with, although Eddie Stampton is involved with the Nationalist movement, Robert Forbes writes from a neutral position, intrigued by the subject but not involved in the dogma. This gives the writing a more-balanced approach than had it been written by either a supporter or someone on the opposing side. That being said, this is still something that most people would find abhorrent, and the propensity towards violence is particularly repellent. But once you read the book, you begin to realise that it’s something that has become an ogre far out of proportion to the reality. This is probably the first time that the story of Skrewdriver and their ilk has been set-out entirely factually, including the dates, the details and the people involved. The first thing you’ll notice is that there actually weren’t that many people in the ‘movement’ (in the UK, at least) and that the few times they did come to any kind of national attention (such as the Waterloo and Jubilee Gardens incidents) the numbers always seemed greater due to the anti-fascists and bystanders, making it much more of a spectacle but not accurately accounting for the amount of nationalists actually involved. The second thing is that, throughout the book (which covers a 15 year period) there are continuous tales of squabbling and in-fighting. It certainly doesn’t give the impression that there was a solid, common purpose, even within the relatively small numbers involved.
The other side of this story is, of course, the music itself. The book attempts to give a fair assessment of this and certainly doesn’t shy away from saying when a band were mediocre or, indeed, just plain bad (even some of the better known bands get called-out at times.) It’s also interesting that, although the Oi movement was blamed by many for promoting racist or neo-nazi views, most of the bands quickly moved away from that style towards more traditional Rock music – even ballads became an acceptable part of the albums !
Now, I’m not going to say that everything said in the book is bad, and in fact, a few people even talk some sense. Being patriotic, for example, is not necessarily the same as being racist or xenophobic, and taking pride in European culture does not mean that you have to deny everything else. But the problem is that such extreme views, as held by some in this book, end up making the chance of a proper debate on subjects such as immigration far more difficult. The liberal media automatically take the opposing viewpoint, making it a ‘for or against’ topic, and frankly, it really isn’t that simple.
But the real issue that comes across is that very few of the interviewees seem to hold clear, coherent beliefs apart from the option of blaming someone else. Skrewdriver may have sung ‘White Power for England, before it is too late’, but as Stewart Home has previously pointed out, England has always had, and no doubt will continue to have, a white-based ruling-class. Such posturing is completely ignoring the British hierarchy which will always be the root-cause of the problems faced by the common people in this country, regardless of how long they’ve lived here.
There are other themes that could be addressed (such as the obsession with Viking and male-warrior imagery, particularly poignant in the case of Nicky Crane, for example…) but really, where this book succeeds is that it puts all the facts together and, whether you support these beliefs or oppose them, you now have the opportunity to know what it was about and why it happened. You don’t have to be a Nazi to read this book, and you can make your own mind up at the end of it. Isn’t that what democracy is about ?
(PS - although the initial run of this book has already sold-out, a revised version is planned for publication by Feral House (USA) before the end of 2015…)
To begin with, although Eddie Stampton is involved with the Nationalist movement, Robert Forbes writes from a neutral position, intrigued by the subject but not involved in the dogma. This gives the writing a more-balanced approach than had it been written by either a supporter or someone on the opposing side. That being said, this is still something that most people would find abhorrent, and the propensity towards violence is particularly repellent. But once you read the book, you begin to realise that it’s something that has become an ogre far out of proportion to the reality. This is probably the first time that the story of Skrewdriver and their ilk has been set-out entirely factually, including the dates, the details and the people involved. The first thing you’ll notice is that there actually weren’t that many people in the ‘movement’ (in the UK, at least) and that the few times they did come to any kind of national attention (such as the Waterloo and Jubilee Gardens incidents) the numbers always seemed greater due to the anti-fascists and bystanders, making it much more of a spectacle but not accurately accounting for the amount of nationalists actually involved. The second thing is that, throughout the book (which covers a 15 year period) there are continuous tales of squabbling and in-fighting. It certainly doesn’t give the impression that there was a solid, common purpose, even within the relatively small numbers involved.
The other side of this story is, of course, the music itself. The book attempts to give a fair assessment of this and certainly doesn’t shy away from saying when a band were mediocre or, indeed, just plain bad (even some of the better known bands get called-out at times.) It’s also interesting that, although the Oi movement was blamed by many for promoting racist or neo-nazi views, most of the bands quickly moved away from that style towards more traditional Rock music – even ballads became an acceptable part of the albums !
Now, I’m not going to say that everything said in the book is bad, and in fact, a few people even talk some sense. Being patriotic, for example, is not necessarily the same as being racist or xenophobic, and taking pride in European culture does not mean that you have to deny everything else. But the problem is that such extreme views, as held by some in this book, end up making the chance of a proper debate on subjects such as immigration far more difficult. The liberal media automatically take the opposing viewpoint, making it a ‘for or against’ topic, and frankly, it really isn’t that simple.
But the real issue that comes across is that very few of the interviewees seem to hold clear, coherent beliefs apart from the option of blaming someone else. Skrewdriver may have sung ‘White Power for England, before it is too late’, but as Stewart Home has previously pointed out, England has always had, and no doubt will continue to have, a white-based ruling-class. Such posturing is completely ignoring the British hierarchy which will always be the root-cause of the problems faced by the common people in this country, regardless of how long they’ve lived here.
There are other themes that could be addressed (such as the obsession with Viking and male-warrior imagery, particularly poignant in the case of Nicky Crane, for example…) but really, where this book succeeds is that it puts all the facts together and, whether you support these beliefs or oppose them, you now have the opportunity to know what it was about and why it happened. You don’t have to be a Nazi to read this book, and you can make your own mind up at the end of it. Isn’t that what democracy is about ?
(PS - although the initial run of this book has already sold-out, a revised version is planned for publication by Feral House (USA) before the end of 2015…)
STONEAGE fanzine #6. (willycarroll@yahoo.com) Stoneage has acquired a near mythical status, in that I’ve known Willy for a few years but, although several reliable witnesses have claimed sightings, I had never actually seen any physical evidence of the alleged fanzine. But that has now all changed and I am no longer a sceptic. The truth is out there, and a damn fine read it is, too. Loads of generally short interviews, often concerning encounters with the Rolling Stones, with the likes of Walter Lure, Henry Rollins, Viv Albertine, Kid Congo, Sylvain Sylvain and Paul Simenon, plus more substantial interviews with James Williamson and Thurston Moore. The great thing is Willy’s easy-going style, more intent on swapping stories about favourite records and gigs than getting into meaningful lyrics of guitar specifications. It’s a lot of fun, the sorta fanzine you’ll read all the way to the back page. Trust me, this is a good one – get in touch as soon as possible.
FAILSAFE fanzine #12 (failsafezine@yahoo.com) Probably my favourite UK fanzine, this issue contains in depth interviews with The Fits, Anti-Establishment and veteran US band Don’t No, as well as all the usual, extensive reviews. What I like about it is that the interview subjects are chosen because they’re going to be interesting, rather than just a ‘big name’. Even if you’ve never heard of the band, the interview will be a great read because of the depth and detail it goes into. But it’s not just a trainspotting exercise, there’s plenty of humour and purpose behind it all. This is one of the few fanzines I will read from cover to cover and I can’t recommend it enough.
BOOK OF THE YEAR by TV Smith (Arima) Exactly what it says in the title – a document of every gig played by TV Smith (and a few days-off) during 2013. When you realise that amounts to over 120 performances and nearly 20 different countries, as far apart as Russia and Uruguay, then you’ll see that it involves a lot of experiences and a lot of entertaining material. TV writes in a very down-to-earth style, almost as if he’s just chatting on a one-to-one basis, so it’s very easy to be drawn into his world. It’s certainly not a life of luxury and he never holds any such pretentions. This is simply the story of an artist with a desire to take his music wherever he can. This is what he does. Fortunately, enough people appreciate his work and support his efforts. While it doesn’t always go according to plan, it’s great to see that he always comes out on the other side. It’s all about being true to yourself and not being sold-short and the book really captures the spirit of it all. Entertaining and inspiring, this should not be missed.
CLOTHES CLOTHES CLOTHES MUSIC MUSIC MUSIC BOYS BOYS BOYS by Viv Albertine (Faber & Faber) Having never been a huge fan of The Slits, I wasn’t even vaguely sure what to expect from this autobiography, but I’m pleased to say it’s surprisingly good and I think you would enjoy it even if you have no liking or knowledge of the music. Viv writes and tells her story in a very down to earth style but always remains intelligent, articulate and very perceptive. Admittedly, it may be easier to understand events in retrospect, but Viv does this without any pretensions or revisionism, which so often occurs in memoirs. Instead, she just sticks to the events and characters, describing how they went on to affect her emotionally or creatively. Whilst The Slits are now, quite rightly, considered feminist icons, and many of the people they were closely involved with have also reached similar cultural status, Viv is just as intent on focusing on her own frailties as much as her successes. In fact, one of the more interesting aspects of the book is how she dealt with her life post-Slits, returning to a more routine lifestyle and, again, she opens up as much about the low points as the high, which makes it much easier to relate to her as a real person. It’s an inspiring book and it leaves you with a sense of honesty and integrity. The tale of a normal person in an extraordinary life, perhaps ?
ANGER IS AN ENERGY by John Lydon (Simon & Schuster) Considering John Lydon’s current status as an alternative national treasure, and the fact that his first autobiography only dealt as far as his time in the Pistols, he’s well within his rights to release a second volume. He has had plenty of time and exploits since then, although that being said, the first 180 pages does cover much of the same ground again (albeit with plenty of new details.) But it’s from that point onwards that things start to get really interesting. He puts forward a pretty realistic theory concerning the Sid & Nancy deaths and then moves on to the development of PIL. The thing is, it was the chemistry between the original band members that created the volatile atmosphere necessary for them to produce the remarkable music they made together, but it also left them vulnerable to instability and, inevitably, their demise. Lydon’s claims that he was innocent in all of this don’t really ring true, as his creativity obviously fed from the same factors and that would indicate he must have been a part of the whole situation. There’s always going to be different points of view, but as this is Lydons’ book so we only get his. He also goes into detail about later and current PIL line-ups, plus the Sex Pistols reunions, which now seem to be at an end. There’s also a lot more information about his life with Nora and his various escapades away from music. At times, his memory does seem to be a little selective but overall it’s a fascinating read and, when you consider that this is a man who has had a huge social and cultural impact over the past few decades, you can only respect him and his opinions, even if you choose to disagree.
SPLITTING IN TWO by Robert Dellar (Unkant) Biographical work documenting Roberts’ exploits in the fields of Punk Rock, squatting and Mental Health Care. In particular, he goes into some depth concerning his involvement with the radical pressure group, Mad Pride, a group who continue to be as much about entertaining themselves as having their points heard. It’s interesting to hear the story from someone so closely involved, as it really explains their motives and describes the characters who made it so unique. It’s also of particular interest to me, and I’m sure this will be the same for many others, as so many of the events and places discussed cross over into my own timeline, allowing me to directly relate to many of the tales, even though I know little about the author himself. His life has many twists and turns, yet more to relate to, and it’s mostly written in a pretty easy-going narrative, although occasional lapses into a Stewart Home / Richard Allen style provide amusing breaks from the regular text. As a document of a life spent in an alternative environment, this is probably as real as it gets.
DEFIANT POSE fanzine #8 (PO Box 2544, London, NW6 3DF) I can’t believe I haven’t come across this before now, as it’s just the sort of fanzine that I really enjoy. This issue came to my attention due to the inclusion of a 7” featuring previously unreleased tracks from Rema Rema (see vinyl review elsewhere) but the fanzine itself is an excellent read. Like Failsafe, it concentrates more on lesser-known but highly-interesting bands whose stories deserve to be documented. A Rema Rema interview / retrospective features prominently, as well as the likes of Blood & Roses, Cervix, Heretics and The Stench (arguably the first all-female punk band, having performed even before The Slits !) An anarcho-situationist attitude is prevalent and makes for a great presentation. You really need to catch up on this publication as soon as you can.
ALICE COOPER – WELCOME TO MY NIGHTMARE by Dave Thompson (Omnibus) Whilst Michael Bruce and Alice himself have both published biographies, they’ve obviously been from a subjective viewpoint and not really got under the skin of the Alice Cooper phenomenon. This is the first book that attempts to do so and, to a great extent, it’s pretty successful. It’s the details concerning the original band that are most fascinating. As a band, opposed to the solo artist that the singer became, they really were quite remarkable, able to stir up controversy but always providing great music to justify the publicity. The deserved success of ‘Welcome To My Nightmare’ may have prompted the continuation of Alice Cooper as a solo performer, but sadly, none of his albums since that time matches the classics recorded by the original band, even though live shows have remained consistently entertaining. Rather than a biased press release, that’s what this book really illustrates and as such it’s a fascinating read. Unfortunately, nowadays Alice Cooper is thought of as the born-again Christian golf fanatic who plays alongside members Guns & Roses or Johnny Depp, but there was a time when the band, as a whole, were considered a threat to society whilst creating some of the best, most inventive rock music of the era. Trust me, you need to know about that band.
